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The Artist's Flight Within His Own Universe

On October 22, 2014, in Leadership S4-Quartz, by Neculai Fantanaru

Valorize your talent, inspiration and creative imagination, without feeling limited by the requirements based on incoherent or burdensome fundamentals.

Director Sergei Eisenstein is not at all happy in the beginning by the subject given to him for the film entrusted to him, "Alexander Nevsky". The theme doesn’t manage to enter his concerns, which are, as we know, pointed towards other directions. The precise requirements imposed upon him by the theme are just as many tyrannical canons for this artist used to fly freely within his own universe.

"Tough situation. The hardest situation in our work, for the creative imagination. To invent a figure for the screen that will strictly correspond to the thematic requirements expressed theoretically with mathematical rigor, in a formula ! This is the formula – create the image based on it ! But there are situations when you’ve no choice. And it was precisely our case."

With his characteristic irony, Eisenstein thinks of the "saint" Alexander Nevsky whom he had to turn into a hero for his film, after the country turned him into a national hero. *

Leadership: Do you complete your creation by moving science on a "background line" or on a "call line", convinced that you can meet the precise requirements imposed by the theme of your own contribution to the effort to capitalize an image in the most appropriate way?

If you try to increase your value by what you think, through what you create, through what you transmit, accepting the fusion between the demands that are imposed upon you and the producing of innovations that authentically belong to you, it means that you already entered a battle whose real nature can be proved y determining the effects with repercussions on the level of performance.

The transition to a new model of character, possible at any time on the spiral of the need of feeling fulfilled by imposing your own subjectivism, has the role of bringing your level of self-motivation to extremely good rates. A kind of back and forth, without borders, between the position of the analyzed and the analyst, between two disjointed spaces seeking the intermediate area: a free flight in a universe full of abundance.

Tough situation. The hardest situation in your work, for the creative imagination. For a new revival of the spirit of creation exerted over the expressiveness of art is not possible in the conditions of fulfilling the demands that do not correspond to personal capacities, resources or needs. Therefore, the “bottom line” of the science you consider necessary for the practice of art has as a correspondent your concern for creating an image meant to highlight your imposing personality, your presence in the middle of a theme that announces finding answers to those more current enigmas of the contemporary man in relation to the amazing evolution of a controversial character, such as the historical character.

The effort to capitalize on an image in the most appropriate way implies the continuation of the invention of a new character that corresponds strictly with the promotion of his own story about how to act if you reach your personal maximum in another hypostasis.

Leadership continuously transforms not through the isolation of the creator in a static universe, where everything is shrouded in a cautionary speech, but by transposing him in a full universe, complete, exhaustive, enveloped in a dense network of trails of investigating this art.

Who could deny the role the Ego has, as a helpful instrument of the creative artist, as an amplifier of functionality, in the case of future tasks approved by eventual interventions of proactive nature? Does your access to a new stage of maturity, orientation, superior to the previous, not model your perception vis-à-vis the meaning of art in the context of your own universe?

A leader completes his creation by moving science on a "background line", when he relates to his own creative Ego, to the set of prejudices, opinions and beliefs, but in a context comparative with what he has to offer. But also, he can narrow his creative horizon if he moves his science on a "calling line", relating to the requirements and strict demands of the seekers of the exceptional, engaging in certain limits that cannot be exceeded.

Moving science to “a call line” means using a stylistic device, such as analogy, parabola or hyperbola, to highlight the image of a possible cyclical universe, through which you “pass” as an artist to strengthen the credibility of your story under the guise of another character.

The Artist’s Flight Within His Own Universe admits the existence of originality and the creative potential based on talent, inspiration, imagination, developed in time to give a novel form to an imposed subject – but which can be limited by burdensome requirements, without a single coherent basis. And as someone stated, in this case you can reach bizarre paradoxes and, while you force your mind to unravel or understand them, you are immediately bombarded by others.

* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.


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